If you want to enjoy Lorenzo Pisoni’s Humor Abuse, I suggest you see Cirque du Soleil’s Alegria the day before, as I did. Alegria’s clowns demonstrate far less dexterity, originality and humor than Pisoni does. And he’s a more engaging fellow, too.

Alegria: Cirque du Soleil. October 13-19, 2009 at Liacouras Center, Temple University. www.cirquedusoleil.com.

Humor Abuse. Created by Lorenzo Pisoni; directed by Erica Schmidt. Philadelphia Theatre Company production through October 25, 2009 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.

Send in the genuine clown

If you really want to enjoy Humor Abuse, I suggest that you see Alegria by Cirque du Soleil the day before.

That’s what I did, by happenstance – and it presented a sharp contrast in the art of clowning.

In the tradition of circuses, Alegria includes the antics of a pair of clowns. And these buffoons demonstrate far less dexterity, originality and humor than does Lorenzo Pisoni, the star and co-author of Humor Abuse.

I can see how BSR’s Dan Rottenberg, and others, might feel that Humor Abuse has shortcomings as a play. Its story line is a loose structure on which to hang Pisoni’s display of his craft. But Pisoni’s pratfalls and tumbling and quick changes of persona are dazzling. They not only eclipse everything in Alegria; they’re better than any clown act I’ve seen in the Ringling Brothers Barnum & Bailey Circus in many years. (Not since David Larible was that show’s fool and Bill Irwin and David Shiner appeared in Fool Moon on Broadway in the 1990s.)

He even went to college

In addition, Pisoni is an appealing fellow who seems like one of us: a regular person (college-educated, to boot) rather than a goofy freak, as most clowns are made up and costumed to be. His 90-minute solo performance struck me as endearing and funny.

At one point in his career, Pisoni was ringmaster for Cirque du Soleil’s Mystère, now in its 15th year at the Treasure Island Hotel and Casino in Las Vegas. This connection brings me back to a consideration of the Cirque show that’s now at the Liacouras Center at Temple University. Mystère has a theme— the origins of life in the universe— that frames a series of aerial, trampoline, comic and bungee-jumping acts. The latest Cirque du Soleil touring creation to reach Philadelphia, Alegria, contains many of the same components but lacks a noticeable theme.

Mission: Ridiculous

Its announced motto is hope and perseverance: “The show is intended to inspire us to be better individuals and to work together with our fellow man.” This nebulous, abstract mission is barely discernable and, as I noted above, the show’s comic acts aren’t that comic.

On the other hand, Alegria continues Cirque du Soleil’s reputation for presenting the world’s most accomplished and best-looking performers of physical stunts. Costumes are extravagant, in an overblown mix that includes Arabian nights, Russian ballet, birds and The Phantom of the Opera.

Although the music is played by a live band, its compositional style is mechanical and repetitive, with breathy vocals. The lyrics include some French and some Spanish, plus a made-up language in the Cirque du Soleil tradition. (That idea is borrowed from animal trainers, who refuse to teach animals real words that outsiders might utter unthinkingly and thus trigger an unwanted response from the beasts.)

It’s impressive that Cirque du Soleil is able to forego all use of animals and still fill more than two hours with entertainment. Among the highlights are a spectacular aerial act, a fire and knife dance, athletic balancing couples, a handsome blonde gymnast who reminds me of Rudolf Nureyev when he was young, and a blizzard that’s blown across the stage and out into the audience.

The story line of Alegria, however, is no more than what Ed Sullivan relied on in his old Sunday night TV variety show.♦

To watch a video clip of Alegria, click here.
To read another review of Humor Abuse by Dan Rottenberg, click here.